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Marc Chagall and the Jewish Theater

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Marc Chagall and the Jewish Theater Marc Chagall and the Je>vish Theater GUGGENHEIM MUSEUM Digitized by the Internet Arciiive in 2012 witii funding from IVIetropolitan New York Library Council - METRO http://archive.org/details/chagalljOOchag Marc Chagall and the Jevs^ish Theater Marc Chagall and the JevN^ish Theater GUGGENHEIM MUSEUM ©The Solomon R. Guggenheim Foundation, Marc Chagall and the Je>vish Theater New York, 1992 Solomon R. Guggenheim Museum All rights reserved September 23, 1992-January 17, 1993 Reproductions of cat. nos. 1-7 The Art Institute of Chicago © State Tret'iakov Gallery, Moscow January 30-May 7, 1993 ISBN: 0-89207-099-4 This exhibition has been sponsored, in part, by Published by the Guggenheim Museum Lufthansa German Airlines. 1071 Fifth Avenue New York, New York 10128 Lufthansa Prmted m the United States by Thorner Press Additional support has been provided by Front cover: The Helena Rubinstein Foundation. Marc Chagall, M/isk, 1920 Tempera and gouache on canvas 212.4 ^ I03-5 cm (83 V« X 40 V4 inches) State Tret'iakov Gallery, Moscow Back cover: Marc Chagall, Loi'e on the Stage. 1920 Tempera and gouache on canvas 284.2 X 249.6 cm (in 7s x 98 'A inches) State Tret'iakov Gallery, Moscow Frontispiece: Emblem of the Jewish Chamber Theater, taken from a 1919 poster printed in Petrograd. Color photography: Cat. nos. 1-7, from State Tret'iakov Gallery, Moscow; nos. I, 2 photo H. Preisig; no. 3 courtesy Fondation Pierre Gianadda; nos. 4-7 photographed by Lee Ewing. Cat. nos. 8, 9, 11, 14, from Musee national d'art moderne. Centre Georges Pompidou, Paris; photo Philippe Migeat, © Centre G. Pompidou. Cat. nos. 10, 12, 13, 15-20, from the collection of Ida Chagall, Paris. Cat. nos. 21—32, from Solomon R. Guggenheim Museum; no. 24 photographed by Myles Aronowitz; no. 29 by Lee Ewing; nos. 21, 31, 32 by Carmelo Guadagno; nos. 21-23, 2.5—28, 30 by David Heald. Marc Chagall and theJewish Theater Contents Preface Thomas Krens viii Fore>vord h/rii K. Korolev X Sponsor's Statement jiirgm Weber xi Introduction Jeiuujer Bleising xii Chagall's Auditorium: "An Identity Crisis of Tragic Dimensions' S/i.saii C ODiptoii I Chagall: Postmodernism and Fictional Worlds in Painting Benjamin Harshav 15 Catalogue to the Exhibition 65 Texts and Documents Edited by Benjamin Harshav Translated by Benjamin and Barbara Harshav 133 Bibliography Benjamin Harshav 200 Aftervs^ord Gregory Veitsman 205 Alan- Chagall and theJewish Theater appears at the Gu^'genheim Culture of the Russian Federation, was vital to the success of Museum SoHo while The Great Utopia: The R/issian and Soviet the project. Avant-Garde, ipi$-ip^2, the comprehensive exhibition of one of A number of collectors and institutions were extremely the principal Modernist movements of the twentieth century, is generous in agreeing to lend us important works with the short on display at the Solomon R. Guggenheim Museum. The Great notice that resulted from our scheduling requirements. Utopia presents the fruits ot the avant-garde's attempt to Madame Ida Chagall, daughter of the artist, selflessly lent nine restructure an entire society — economically, socially, and sketches from her collection. Our exhibition would be culturally — in the face of a tremendous political upheaval, the incomplete without these essential works related to the Russian Revolution. Artists became integral participants in commission for the Jewish Theater. We must also thank Meret the formation ol the Soviet government. They also strove to Meyer, Ida Chagall's daughter, for facilitating the transmission create new forms for art and utilitarian objects that would of photographs. The contribution of Franz Meyer, the author of function purposefully to bring about and encourage change. the artist's first catalogue raisonne, was indispensable to the Stranded in Russia during a visit with his fiancee before World exhibition. War I, Marc Chagall participated in revolutionary debates The Musee national dart moderne. Centre Georges about art and politics. He was appointed the Commissar of Art Pompidou, Paris lent additional theater drawings, including for the region of Vitebsk and founded an art academy and the preparatory sketch for the Guggenheim's Green Violinist. museum in his official capacity. At the academy, Chagall's We offer our special thanks to Dominique Bozo, President of teachings were challenged by Kazimir Malevich, who the Centre Georges Pompidou, and Germain Viatte, the Musee succeeded in convincing the school's students of the primacy of national d'art moderne's Director. Additional assistance was his Suprematism. The Great Utopia serves as an excellent offered by Curator Didier Schulmann, who is compiling the background for Marc Chagall and the Jewish Theater by Chagall catalogue raisonne for the museum, and Collection providing the context within which Chagall, in 1920, Registrar Viviane Faret, who helped us navigate the loan undertook his commission for the State Jewish Chamber procedures for the popular works. Theater. Marc Chagall and theJewish Theater, in turn, can be The State Bakhrushin Museum, Moscow, under the viewed as a counterpoint to The Great Utopia in that it presents direction of Valerii Gubin, lent four sketches by Chagall's the work of an artist whose methods of representation, contemporaries who designed productions for the Jewish enigmatic symbolism, and abstract individualist ideology left Theater. We have been the beneficiaries of this museum's him at odds with many of his fellow artists and hastened his profound contribution to the preservation and restoration of departure from Russia. theatrical objects from the early Soviet period, including an These exhibitions have been both blessed and plagued by extensive archive of documentary material. The Central State the myriad changes in the former Soviet Union. The opening Archive for Literature and Art, Moscow, directed by Natal'ia of previously restricted archives and the willingness to Volkova, generously lent rare 1920s posters for the theater, cooperate with Western scholars and institutions have led to a among them an important broadsheet believed to be the first wealth of new studies on the pre- and postrevolutionary poster mentioning Chagall. periods and to exhibitions of works that may not have been In 1991, the murals were exhibited en suite for the first time removed from storage in the Soviet Union, much less been lent in the West, at the Fondation Pierre Gianadda in Martigny, to museums in other countries. An exhibition of Chagall's Switzerland, which sponsored their restoration. We must thank murals for the Jewish Theater was unthinkable a few short the foundation's President Leonard Gianadda as well as years ago. The rapidity of change in the Russian political Christoph Vitali, Director of the Schirn Kunsthalle Frankfurt. situation in recent years created unique logistical and technical Their institutions' exhibitions and catalogues provided both difficulties that had to be overcome. Without the dedicated inspiration and substantial new material on Chagall's murals. commitment of our Russian partners, as well as of many Mr. Vitali lent the Guggenheim numerous historical individuals and institutions in Europe and the United States, photographs and provided important technical advice. this show would not be possible. Marc Chagall and the Jewish Theater might never have been We are most indebted to lurii Korolev, Director of the State realized without the assistance of Lufthansa German Airlines Tret'iakov Gallery, Moscow, and his staff Among them, Lidiia and its Chairman, Jiargen Weber. Nicolas V. Iljine, Manager of Romashkova, Chief Registrar and Deputy Director, played a Public Affairs, arranged and coordinated extensive key role. The Tret'iakov Gallery has cared for Chagall's seven transportation services, and his enthusiastic interest murals for the Jewish Theater since 1950, when they were throughout the show's development was a continuously admitted to the museum. These paintings would not be on important source of encouragement. Through his capable display today without the meticulous restoration work led by offices we were able to obtain much of the documentary Aleksei Kovalev, Director of the Restoration Department, and material that is the basis of the informational component of the his team, including Leonid Astafev and Galina lushkevich. exhibition. Additional support was provided by the Helena The participation of Evgenii Sidorov, the Minister of Rubinstein Foundation, for which we are grateful. Thomas Krem Preface and Acknov\^ledgments Valentin Rivkind, Deputy Director ot the Vuchetich All- to the success of this project. Despite numerous other Union Artistic Production Association (VUART), Moscow, was obligations, Mr. Calnek, Laura Morris, Assistant Editor, and instrumental in securing all loans of art from Russia, a very Jennifer Knox, Editorial Assistant, responded to their labors complicated task due to the volatile political and economic with fortitude and good spirits. situation. The assistance and enthusiasm of Zel'fira Tregulova, Paul Schwartzbaum, Assistant Director for Technical art expert and Deputy Chief of the exhibition department at Services and Chief Conservator, was involved in the exhibition VUART, was fundamental to the realization of this project. She from its inception. His expertise in overseeing the care of the was a model of efficiency and grace under pressure. murals and in negotiating technical issues has been Marc Chagall 6jnd the Jewish Theater has profited from the indispensable. Jan Adlmann, Director of
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